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最近,在《交流》杂志上读到一篇有关中国艺术的文章。作者的一些观点引起了我对中国画是否有必要背倚本民族文化传统来进行创新,以及怎样创新等问题的思考。 我们只需看一眼时下纷纷扰扰的中国画坛就不难得出结论:扑面而来的各种中国画作品早已失却我们曾经熟悉的面貌。艺术家们虽然不遗余力地进行着各式各样“实验”,但实际结果是令人沮丧的。这种看法首先涉及到了一个标准问题,我们在运用传统的认识论来评价目前中国画现状,忽视了眼前的作品是生成于一个全新的高科技信息时代。因此这种传统的评价体系与新的作品之间的信息不对位就必然地导致了目前这种消极判断。
Recently, I read an article about Chinese art in Exchange magazine. Some of the author’s views have given rise to my reflections on the need for Chinese painting to lean on its own ethnic and cultural traditions for innovation and how to innovate. It is not hard to come to a conclusion that we only have to look at the Chinese painting circles that have been disturbing nowadays: all kinds of Chinese painting that have been blown away have long ago lost the familiar appearance we have seen. Although the artists spared no effort in carrying out all sorts of “experiments”, the actual results were frustrating. This view first involves a standard question, we use the traditional epistemology to evaluate the current status of Chinese painting, ignoring the immediate work is generated in a new high-tech information age. Therefore, the misplacement of information between the traditional evaluation system and the new works inevitably leads to the current negative judgment.